Label: Charisma - 9103 102 Format: Vinyl LP, Album Gatefold Sleeve Country: France Genre: Rock Style: Prog Rock
Our beloved classic Genesis has been assembled: White Mountains rich and lovely guitar and flute parts contrasted by the bouncing chorus tell a story of a fight for wolf dominance that probably was connived over a couple of joints. Rather bizarrely, the lyrics steal an uncanny march on those of Album) Forest by the Cure: At that moment there was nothing like it, and it advanced things in a way that bigger acts like Floyd, Jethro Tull and others were still years away from achieving. Trespass March 24, Then Gabe whisper-sings that frail, fragile invitation to us before waxing poetic with his treated description of the waterbank.
Trespass Mca Mca Late Reissue. Trespass Abcx Abc 2nd Issue? Trespass Abcx Abc 3rd Issue? Spine Is Badly Worn. Lyric Sheet Is Nice Clean Vinyl. Trespass Repressing Mca, Trespass 4 copies.
Trespass Excellent Gatefold Cover. Excellent Vinyl. Pink Mad Hatter Labels. With Inner Lyric Sheet France, Trespass Near Mint Vinyl. Seriously this album is the lowest rated of all the Peter Gabriel era Genesis albums but in my opinion it is the best. The tracks vary from gentle and peaceful Dusk, Stagnation, Visions of Angels to aggressive, Looking for Someone and the incomparable The Knife, where Gabriel spits out the vocals with venom. White Mountain is a narrative tale of a wolf which defies the norms of his society and pays the ultimate price.
Gabriel contributes some gentle flute work which adds to the ethereal feel of the gentler tracks and his vocal interpretations are majestic; the man has such a range of emotion and tone. If there are weaknesses, they lie mainly in the production. The mix is muffled, particularly with the bass and drums, giving the impression that Mayhew was not quite up to the task set at times and may have led to his dismissal.
At times, it sounds compressed and does not allow the music to soar as it should. OK, so J. But then he had to let them go and play with the big boys where they belonged, and spent the rest of his free life telling the world how he had discovered them. I bet that smarted just a bit. After that, Genesis spent many a happy evening spinning the magnificent debut from the other Crimson King, and getting inspiration, not to mention revelations, about where the music was going to take them next.
Keeping their roots firmly entrenched in folk music, leaning more towards the off-the-wall string driven sound of the ISB, Genesis nevertheless liked the hard rock sound and apocryphal walls of synths so much, that these too had to be incorporated. Personally, I love the production on this album - even if I do hate the drumming. Exposition And as for the music, well, if you require a definition of what exactly constitutes good Prog Rock, then here it is. What exactly is so good about it?
Banks drifts eerie keyboard lines, and Phillips gently entwines contrapuntal guitar lines - and the first thing we notice is the soothing absence of the pentatonic scale.
Soft sixths and minor sevenths are the order of the day, along with slightly rambling melody lines that are a huge relief from the multitude of scale practitioners that were around then and, sadly, seem to have increased in number to this day. This creates a feeling of expectation that is gentle, punctuated and illustrated by watercolour softs and shades of musical dynamic.
Formally, we have a reasonably standard song structure of "verse1", "verse2", "chorus", "verse3", up until the instrumental bridge, but despite the contrast between "verse" and "chorus" sections, we do not feel the chorus aspect - it feels more like a refrain: The lyrical structure is clearly not designed as a singalong - more as a reflective meditation, with the contrasting music providing balance in the structure that helps this song feel like no rock song ever recorded before - like a continuing narrative with subtle dynamic, rather than a "hit".
The Genesis of instrumentals The instrumental section is where things get really interesting, bearing all the hallmarks of the Genesis that would go on to produce such a fine crop of Prog albums. Development When the final verse arrives, there are jagged changes in the accompaniment, with powerful, towering blocks of chords, reflecting arrival in a city - or the arrival of the city, indicating the timeless nature of the lyrical material.
I rather like the latter idea. The End Unfortunately, that is where most of the technical fireworks finish. Then it all descends into a kind of soft mushiness, with a repetitive accompaniment inducing a feel of a standard song, which lends nothing to the tale unfolding in the lyrics save a vague feeling of travelling. Around 1: Some vocal harmonies are apparent on the second verse - but then we get another instrumental passage based on the previous one, which leads to a sinister stomping accompaniment for the next verse.
Another beautiful flute-driven passage leads to a combination of mellotron and, of all things, whistling! The edgy introduction returns, building more quickly with human voices humming, and dropping away suddenly, by way of meditation on what has gone before - the story of Fang, son of great Fang who paid the highest price for seeing the crown of the Gods, but nonetheless, died an honorable death.
From Genesis This is soon joined by vocal "Aahs" that remind me of the vocalised passage in "A Saucerful of Secrets". A piano motif lightens the mood and is joined by the flute for a smooth transition into the last verse, which features some superb arrangements that cast aside the earlier mushy sound.
The last chorus is iterated twice - the first time with a greatly stripped-back accompaniment, and the second much fuller, providing a beautiful progressive feel. The second idea of the second instrumental bridge is worked out to equally beautiful effect to end the piece, giving a coherent and tight, not to mention progressive structure to the piece.
Stagnant Harmonically speaking, "Stagnation" is somewhat disappointing, revolving around 2- chord jams - but as an overall structure, it is quite stunning, with a naive charm and plenty of unexpected textural experimentation, some of which works, some of which, well, you make up your mind All in all, a song with much going for it, but nothing special in the Prog Rock canon.
What about those Mellotrons, eh? The emphasis here is no longer on the instrumental passages - at last, the sum of the parts is greater than the whole, and the individual sections are all well thought-out and enjoyable in themselves while still meshing together perfectly to make a piece of tangible spontaneity second only to "The Knife". The unmistakable keyboard introduction, punctuated with aggressive guitar stabs builds in intensity as the verse progresses, and these lines are developed as the irresistable chorus progresses, Gabriel joining to make a quite perfect trio of tension-builders.
At last we get something passable in the bass, even if it does get a little lost here and there, and clingy at other times, it provides good drive where it gets confident, and at times does exactly what is needed to provide support to keyboards, guitars and flute, before realising that it needs to do a bit more, and starts clinging again.
No such problems in the other parts, though, which seamlessly explore and develop themes, grow new melodic lines and textures, maintaining a wonderfully organic feel to the piece that is simply not present in rock music before this album was released - and that includes "In The Court While none of the playing is overtly virtuosic, the growing of musical form is the most impressive feature of this piece, and something that even Genesis themselves found hard to top in later compositions.
Of course, the best quality might be that there is no Phil Collins. Trespass feels the most artistic and perhaps the most genuine. While others I have found to be a bit overblown and too bland sounding, this record feels much more sincere and the musicianship is still there. It sounds more like the later Genesis outputs as well, while the other 5 songs have an innocence about them that makes them sublime and beautiful.
The Knife, for me, sticks out like a sore thumb among a bunch of other really good tracks. A good output by one of the most revered bands in prog rock. A great little bit in the early history of progressive rock. The truly first Genesis LP. I bought this vinyl album back in I really felt in love with Trespass. Not a single track is weak. Side one is equally balanced between three tracks of almost the same lenght.
The three of them are really very good songs probably in my top 20 best of the band. The ambience of the record is very smooth and tranquil, but never boring. The opener "Looking For Someone" is my fave on this side and wonderfully combines soft parts with more vigorous ones. Peter is quite dramatic, and his so special voice serves the music briliantly. The overall mood of this side is rather melancholic.
Delicate, sweet and melodic. It is almost on par with the opening song. Another excellent moment indeed. Side two opens with "Stagnation" which I liked and still do very much. It is one of the most underrated one of the band there will one track like this on the following two albums as well, but this another story.
Scarcely played live, this track is very melodious. And "Stagnation" is maybe the vibrant homage to this great album. Pastoral and quite: The closing number "The Knife" will always represent one of the favourite live track of the band.
It is completely different from the other songs featured on "Trespass". What we get here is pure madness, almost hard rock. The lyrics are pretty weird, dark and violent: Carry their heads to the palace of old, Hang them high, let the blood flow"! Some electric guitar parts are extremely powerful, mighty shall I say.
The lyrics are spledid as well and warn about the human madness during war periods. This song represents a special souvenir for me: Brussels was one of the very few venues of The Lamb tour where Genesis played two encores! I still have the shiver when I remind myself of this fabulous moment. For all these reasons, I rate this album with five stars.
Excellent from start to finish even if "Dusk" is a little weaker it reminds me so many good souvenirs especially in those dark days that I am facing now. The essence of the band is there. Two new musicians will soon join the band and new directions will be explored. This review was edited on October 28th, Some excellent flute and guitar too. Good song, but I like "White Mountain" better.
We are treated to a little mellotron and more nice piano melodies. I really like "Stagnation". This song has some really beautiful pastoral moments, with gentle vocals and flute. There are also some uptempo moments as drums build and the vocal melody is great. Things get more aggressive after 5 minutes and check out the beautiful guitar melodies from Mr. Great song!
This is where it started to come together for the band, and this is an outstanding record. There are hints here of the strong musical force this group would become. The guitars Anthony Phillips here, Steve Hackett later and rhythm section play less of a role than those familiar with recent progressive music are familiar with.
The effect is to emphasise beauty rather than power. The problem with this record is two-fold: Right up with the best thing they ever did. Go ahead. With Trespass, Genesis left behind the short song format, the strings and really made a quantum leap forward musically.
Stagnation is one my favorites on the album. Eiselberg, a very rich man, who was wise enough to spend all his fortunes in burying himself many miles beneath the ground. As the only surviving member of the human race, he inherited the whole world. The main fault I can find with the Virgin edition is they butchered the album cover art. Kind of ironic since the album cover is a painting with a knife slashing through it. Would have been nice to see inner album artwork reproduced as well.
If not number one, then certainly in the top 5 or An excellent, highly recommended album, especially for its historical significance. All the tracks are good in my opinion and this CD is more balanced and flows better than Nursery Cryme. The absolute highlight is The Knife, which set the pattern for the classic Genesis sound from then on. But all songs are remarkable. Allthough not perfect, this is a splendid album, that I enjoy listening to every time.
Tony Banks has a much more prominent role on Trespass than he had on From Genesis to Revelation which is very much due to the fact that he uses a mellotron on Trespass. There are extremely beautiful melodies on display here, and every song comes up with something new.
My favorites are White Mountain and The Knife. This combined with the fact that there are some really heavy riffs in The Knife makes this a pretty mean song. Let me be frank. This is not the best album Genesis ever made, but it is very essential to every prog collection, as it is still one of the better in the genre.
Looking for someone. I always liked this opening song bringing me in the right mood. Real symphonic. White mountain. Least track of the album to me. But still nice. Visions of angels. Somewhat better than previous track. Also not really the best. I always loved this one very much, it has a special place in my heart.
Great atmosphere. Very good ballad, one of their best ever. The Knife. A true classic by this band, another very symphonic track, great composition. So that leaves a very clear score of 4,25 stars. Rounded down to well deserved 4 stars. Great "debut" and recommended to start with. Full-fledged symphonic rock here with all parts in place, a monumental piece of arranging and mixing for its time.
It is young symphonic rock at its best, wide-eyed, small but ready, and an unstoppable force soon to be a major player. At that moment there was nothing like it, and it advanced things in a way that bigger acts like Floyd, Jethro Tull and others were still years away from achieving.
Banks has stepped up his choice of instruments and uses piano, organ or mellotron to fit the piece and the idea. Looking For Someone opens with moody organ and emotional vocals, moving up into searing guitar and drumming, perfectly conveying the search for order and meaning in the excellent lyrics.
The changes in mood are perfectly executed, and the use of the flute is better and more energetic here than on any other Genesis album. Perhaps the real charm for me of this album and this song in particular is that the music and lyrics actually evoke their subjects for me. White Mountain was one of the two pieces responsible for getting me into Genesis the other being One For The Vine , and from the mellotron-and-acoustic opening it really drags you into the cold, clear atmosphere it describes, reflecting both the adrenaline of the chase and the beauty, yet savagery of the environment.
Classic song. Again, the concept is pretty clear, intelligent and enjoyable, the lyrics are good, the vocals are good, and the changes are all done superbly.
All of the components are good, but the end result, the haunting atmosphere and powerful music, is a real stunner. One of the most forgotten prog epics, and one of the best. Thankfully, the return to the vocals prepares for a better end. This seems to be one of those pieces where despite not being bad the quality and variation really comes from the presence of the vocals and lyrics. Great, but not perfect. What to say? An absolute beast which leaves me wanting more.
I almost wish that Genesis had explored the hard rock style evident here a little more. A stunning first section moves into an inquisitive quiet part with excellent bass, guitar and flute, and occasional percussion in the background. The build-up is amazing, the conclusion is powerful, and I even enjoy the much-maligned drumming: Emotionally and personally, this album is a flawless five star. The ideas stand out, and the music essentially conveys them perfectly.
The music is fantastic all the way through. The album takes time to groew on you, but it definitely does. Mayhew, on the other hand, is not in the same league as Phil Collins, and it was very healthy for the group to have added a better drummer after Trespass.
Collins had a more distinct style which suited the band much better. The flute is used more than in future albums, so Gabriel had another chance to shine, which he managed to do. The recording is very weak, even for After the initial album Genesis took a whole different direction on this one.
With only one song in the four minute range Genesis moved into the area of longer compositions and lush instrumental sections surrounding the core song. The album has a lonely, melancholy feel to it and the music follows suit best represented in the opening track Looking for Someone. White Mountains rich and lovely guitar and flute parts contrasted by the bouncing chorus tell a story of a fight for wolf dominance that probably was connived over a couple of joints.
Visions of Angles starts with a glimmer of hope in the music but the lyrics return us back to the melancholy of a love lost. This us bring us the most unusual song on the album Stagnation. Here Genesis start into their first epic.
Here it begins for Genesis. After that we have a nice little acoustic piece the shortest on the CD Dusk. It was the first progressive one, anyway. It is harder to get into compared with many later Genesis albums, but over more listens I have grown to like it more than I used to. Indeed, The Knife is one of my favourite Genesis songs of all time. It rocks harder than anything else on this album. The rest is a bit more mellow.
Such important members as Steve Hackett and Phil Collins had not yet joined the band at this time. Trespass certainly contains some very good music, but it is generally not up to the standards of what came after it. For fans and collectors of Genesis like myself this is, of course, an essential addition. But for everyone else it is probably not. A good album - no more, no less! The first three tracks are the most nondescript, sedated tracks to come out of the Genesis canon.
Genesis goes insanely heavy here with distorted bass and biting organ, and the piece is filled with melodramatics. The middle gives the group breathing room before going on an all-out assault at the end. The album kicks off with Looking For Someone. This really is an overlooked gem.
Next comes White Mountain, which is also underrated. I love the organ on this song, and the acoustic guitars are great too. Visions of Angels is a really beautiful piece with nice piano and superb singing. Stagnation is one of the best songs on the whole album. It is a short epic with a great ending. The song starts out acoustic, and slowly builds into an awesome theme at the end. Dusk is a short folk rock piece that I enjoy, but is mainly overlooked. The Knife is the closer to the album, and is really incredible.
A great song, however I almost never listen to the studio version. This is a must buy for any Genesis fan or just a prog fan in general. If he had not had stage fright, imagine what Genesis would have sounded like. Looking for Someone starts off with that trademark plaintive voice, seeking answers, Absolutely a remarkable vocal performance from someone barely out of school. White Mountain is, to me, aan album filler, but Visions of Angels is the track that persuaded Charisma to sign the band, and it is easy to see why.
Many commentators remark that the oldest song Genesis perform these days is I Know What I Like, but this is not true - the exceptional keybord and vocal passage in Stagnation actually plays a part in the modern day medley, and it still sounds fantastic.
Banks, Phillips, and Gabriel combine to terrific effect on a simple passage. The Knife still resonates in the present day - an angry song about a demagog, it is years ahead of its time, inspiring countless others, especially Fish when writing Market Square Heroes in the eighties.
Pink Scrolls are for collectors only and for those concerned about the muffled sound I hear the remasters give a more purposeful and clear delivery, but with some changes in the remixing. Pick your poison as they say. Equipment Used: Reply Notify me 1 Helpful. Reply Notify me Helpful. Seventies by Gredos. Just Rock by Gredos. My collection of holy grail prog LPs by progfan Charisma Records discography by Rudnickiy.
Ultimate Classic Rock. Retrieved 6 March Melody Maker: Quartet Books Limited. Retrieved 21 December CD BOX 6. Charisma Records. CAS ABC Records. MCA Records. Retrieved 10 September Music Reviews".
Rolling Stone. Archived from the original on 2 May The new Rolling Stone album guide. Dodd, Philipp, ed. Chapter and Verse. Genesis — [Trespass] DVD. Virgin Records. Bowler, Dave; Dray, Bryan A Biography. Hegarty, Paul; Halliwell, Martin Beyond and Before:
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